:12:39 +0200
A A Subject: Re: [LUTE] Theorbo pieces
A A From: [3]anthony.hart1...@gmail.com
A A To: [4]wfeis...@msn.com
A A CC: [5]bruno.l...@gmail.com; [6]lute@cs.dartmouth.edu
A A I was dissociated in the Torelli Tutor. It does have a few
exercises
Thanks for the additional information and correction, Anthony!
Bill
__
Date: Tue, 16 Jun 2015 20:12:39 +0200
Subject: Re: [LUTE] Theorbo pieces
From: anthony.hart1...@gmail.com
To: wfeis...@msn.com
CC
Hi Bill,
I'm aware of Torelli's tutor, however as you pointed out it lacksactual
pieces, and that's what I need. You mentioned seicento, is it a
= publisher?
Thanks.
2015-06-16 14:18 GMT-03:0= 0 Bill [1]wfeis...@msn.com:
Dear Bruno,
Although I do not play= the theorbo
but as for actual pieces it is a b= it lacking. For pieces
I found the two volumes of a Easy Theorbo pieces pub= lished by
Seicento useful. These are not actual theorbo works but lute and
baroque guitar transcriptions. Quite nice pieces and playable as a
beginner= .
On Tuesday
Hi all--here is an eBay auction I have for an earlier Weiss Guitar that
I made. It has 14 strings and is presently tuned as a re-entrant
theorbo. Now is your chance to have an extended range guitar for under
$900.
[1]14 String Guitar
[2]image
Good find!
On Apr 1, 2015, at 4:13 AM, Alain al...@musickshandmade.com wrote:
I think this is cool: http://www.tiorba.eu/timeline.html - Nice time line and
documents about the theorbo. I just chanced on it, and in case this is not
common knowledge I thought I would share the link.
Ed
I think this is cool: http://www.tiorba.eu/timeline.html - Nice time
line and documents about the theorbo. I just chanced on it, and in case
this is not common knowledge I thought I would share the link.
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc
Thanks Alain, it's a very good link.
Regards.
2015-03-31 16:13 GMT-03:00 Alain [1]al...@musickshandmade.com:
I think this is cool: [2]http://www.tiorba.eu/timeline.html - Nice
time line and documents about the theorbo. I just chanced on it, and
in case this is not common
Dear theorbists (in particular the North Americans who have to fly
to every concert),
I am selling my Stevenson theorbo flightcase. Blurb is below, and do
click on the link to Wayne's site way at the bottom to see photos.
Contact me in a private message if interested.
All
Always shaking my head, rolling my eyes, and counting all those upper
pegbox pegs when the pics or the subject of the 19 course chromatic
theorbo comes up. (Even the chromatic harmonica is a rare handful
compared to the regular diatonic ones, but seems to be a more manageable
widespread
His libro primo also I believe. r
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf Of
Martin Shepherd
Sent: Tuesday, March 17, 2015 10:54 AM
To: lute@cs.dartmouth.edu
Subject: [LUTE] 19c theorbo?
Dear Collective Wisdom,
Is there any music
Dear Collective Wisdom,
Is there any music apart from that in Kapsberger's Libro Quarto which
calls for a theorbo of more than 14 courses?
Thanks for your help,
Martin
---
This email has been checked for viruses by Avast antivirus software.
http://www.avast.com
To get on or off
theorbo comes up.
(Even the chromatic harmonica is a rare handful compared to the regular
diatonic ones, but seems to be a more manageable widespread instrument.)
How many thumbs did Kapsberger have going up his right wrist?
Dan
On 3/17/2015 8:21 AM, Roland Hayes wrote:
His libro primo also I
yes: Kapsberger terzo libro, + Modena Ms (2 pieces I think)
Le Mardi 17 mars 2015 16h37, Dan Winheld dwinh...@lmi.net a A(c)crit
:
Always shaking my head, rolling my eyes, and counting all those upper
pegbox pegs when the pics or the subject of the 19 course chromatic
theorbo
chromatic
A A theorbo comes up. (Even the chromatic harmonica is a rare
handful
A A compared to the regular diatonic ones, but seems to be a more
A A manageable
A A widespread instrument.)
A A How many thumbs did Kapsberger have going up his right wrist?
A A Dan
Dear Luters,
A shameless plug. I'm selling two of my theorbo cases, info below:
[1]http://www.cs.dartmouth.edu/~wbc/lute/forsale.html
KINGHAM THEORBO CASES for sale: I have duplicate cases for two
theorboes and, due to the restraints of a small Paris flat, I have
decided
Ralf-
Thank you! Never knew- any pictures of this thing? Anyone
building/playing them these days?
Dan
On 2/11/2015 8:27 AM, Mattes wrote:
Am Mittwoch, 11. Februar 2015 17:17 CET, Dan Winheld dwinh...@lmi.net schrieb:
...a pantaleon solo...
I thought I knew all the instruments-
theorbo. Gebel was a close
friend of Johann Kropfgans. I believe his single lute piece is an
arrangement of a pantaleon solo, which Gebel played quite succesfully (he
used an all gut-strung instrument, BTW).
Thanks and best regards
Stephan
-Ursprüngliche Nachricht-
Von: lute
Got it-
http://www.la-gioia-armonica.de/english/margit-übellacker-dulcimer-salterio-dulcemelos/instruments/
On 2/11/2015 8:27 AM, Mattes wrote:
Am Mittwoch, 11. Februar 2015 17:17 CET, Dan Winheld dwinh...@lmi.net schrieb:
...a pantaleon solo...
I thought I knew all the instruments-
and theorbo
A A I'm nit at home so cannit check. Graupner'sA Johannes is onA in
A A YouTube. It was a bit of a fad in Holland some years ago, at
the
A A anniversary of Graupners birth or death. It's a long piece.
Haven't
A A played it myself, but aA friend did
This is exciting! Hier hängt die Unschuld nackt und bloss, aria with Tenor
and (judged by the mp3 on amzon.de) d-minor theorbo. Gebel was a close
friend of Johann Kropfgans. I believe his single lute piece is an
arrangement of a pantaleon solo, which Gebel played quite succesfully (he
used an all
Dear All,
I am a viol and theorbo player living in Sydney, Australia. Because of
my fascination with the French theorbo repertoire, I have begun to post
some YouTube videos of me playing some of the theorbo pieces from the
Saizenay manuscript. I would like to invite you to view
]tio...@gmail.com:
Dear friends,
For a project in the Conservatorio where I teach I'm collecting
some
arias with obbligato lute and theorbo.
At the moment I have all the Bach music, all the HACURndel, some
Vivaldi, a cantata by Ferrandini and (the funny
can find this out but need some time...)
Andrea
2015-02-03 10:57 GMT+01:00 Diego Cantalupi [1][1]tio...@gmail.com:
Dear friends,
For a project in the Conservatorio where I teach I'm collecting
some
arias with obbligato lute and theorbo.
At the moment I have
:
Dear friends,
For a project in the Conservatorio where I teach I'm collecting
some
arias with obbligato lute and theorbo.
At the moment I have all the Bach music, all the HACURndel, some
Vivaldi, a cantata by Ferrandini and (the funny) Zandonai.
Do you have
,
A A A A For a project in the Conservatorio where I teach I'm
collecting
A A some
A A A A arias with obbligato lute and theorbo.
A A A A At the moment I have all the Bach music, all the
HACURndel, some
A A A A Vivaldi, a cantata by Ferrandini and (the funny
] Re: Obbligato lute and theorbo
A A Wagner aria in Meistersinger.
A A Britten aria in The Triumph Orianna (written for lute but final
score
A A has guitar)
A A There's a lot of Telemann that has lute(like) instruments
obligato.
A A Worth to check his cantatas
09:09
A A A Cc: List LUTELIST
A A A Betreff: [LUTE] Re: Obbligato lute and theorbo
A A A AA A Wagner aria in Meistersinger.
A A A AA A Britten aria in The Triumph Orianna (written for lute
but final
A A A score
A A A AA A has guitar)
A A A AA
On Feb 3, 2015, at 1:57 AM, Diego Cantalupi tio...@gmail.com wrote:
What I'm looking for is not lute as an obbligato continuo instrument, but as
a solo instrument (like Bach's Johannespassion).
There’s Il Sacrifizio di Abramo by Camilla de Rossi (1708), which has
concerto-like movements for
)crit :
Dear friends,
For a project in the Conservatorio where I teach I'm collecting some
arias with obbligato lute and theorbo.
At the moment I have all the Bach music, all the HACURndel, some
Vivaldi, a cantata by Ferrandini and (the funny) Zandonai.
Do you have any other
...)
F.B. Conti: David (I can find this out but need some time...)
Andrea
2015-02-03 10:57 GMT+01:00 Diego Cantalupi [1]tio...@gmail.com:
Dear friends,
For a project in the Conservatorio where I teach I'm collecting some
arias with obbligato lute and theorbo.
At the moment I
Dear friends,
For a project in the Conservatorio where I teach I'm collecting some arias with
obbligato lute and theorbo.
At the moment I have all the Bach music, all the Händel, some Vivaldi, a
cantata by Ferrandini and (the funny) Zandonai.
Do you have any other suggestions?
What I'm looking
work best on a middling to
large size theorbo. For this piece, I use a single reentrant instrument
in G because it works best for all the keys, but you could certainly go
with an A instrument as well. A double reentrant instrument will have
octave issues. It just sounds better
I think that depends on what sort of context in which you intended to replace
the theorbo with a Renaissance lute.
If you’re thinking of providing accompaniment for a singer in a domestic
context, the lute can play the notes, just not the low octaves at cadences.
Any more than
be
confined to pre-1600 and that the large Roman theorbo is the most
correct instrument to use in baroque plucked continuo is a thoroughly
modern one that didn't exist during the actual period.
Chris
[1]Sent from Yahoo Mail for iPad
At Nov 2, 2014, 21:35:42, Herbert
Ward'[2]wa
On 2014-11-03, 8:18 AM, Christopher Wilke wrote:
Ren lute is absolutely fine. When I played in the Collegium at Eastman,
Paul (O'Dette) occasionally sat in with us continuo players. He always
used his 8 course
I played continuo on my 7-course renaissance lute for many years in a
If you believe the lute 'works well' and is 'quite audible' for
continuo in ensemble, such as that required for a Bach harpsichord
concerto, why do you think the theorbo was ever invented?
__
From: Geoff Gaherty ge
On 2014-11-03, 10:47 AM, Martyn Hodgson wrote:
If you believe the lute 'works well' and is 'quite audible' for
continuo in ensemble, such as that required for a Bach harpsichord
concerto, why do you think the theorbo was ever invented?
Oh, certainly, an archlute or theorbo
Martyn,
On Mon, 11/3/14, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
If you believe the
lute 'works well' and is 'quite audible' for
continuo in ensemble, such as that
required for a Bach harpsichord
concerto, why do you think the theorbo was
ever invented?
I've often wondered
On Nov 3, 2014, at 7:47 AM, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
why do you think the theorbo was ever invented?
Well, one clue is that the first theorbo design was commissioned in 1595 by the
Marketing Committee of the Pan-Italian Chiropractors Association.
To get on or off
] On Behalf Of
Christopher Wilke
Sent: Monday, November 03, 2014 11:41 AM
To: Geoff Gaherty; lute@cs.dartmouth.edu; Martyn Hodgson
Subject: [LUTE] Re: Ren lute as sub for theorbo
Martyn,
On Mon, 11/3/14, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
If you believe the
lute 'works well
To find out why the theorbo was invented, you'd have to ask the inventor:
Rube Goldberg
JM
On 11/3/14 11:56 AM, Roland Hayes rha...@legalaidbuffalo.org wrote:
I suggest its origins were for the solo singer to accompany himself (Peri,
Caccini, others in Italy ca. 1600). Salamone Rossi calls
I think the real reason for the invention of the theorbo was to provide
easy fodder for an unending stream of juvenile phallic jokes. My
favorite was after a rehearsal for Monteverdi's Vespers. One of the
singers, a very attractive young lady, came up to me and said, Oo
of the theorbo was to provide
easy fodder for an unending stream of juvenile phallic jokes. My
favorite was after a rehearsal for Monteverdi's Vespers. One of the
singers, a very attractive young lady, came up to me and said, Oo,
that thing is ENORMOUS! I've been watching you
On 11/3/2014 8:57 AM, howard posner wrote:
On Nov 3, 2014, at 7:47 AM, Martyn Hodgson hodgsonmar...@yahoo.co.uk wrote:
why do you think the theorbo was ever invented?
Well, one clue is that the first theorbo design was commissioned in 1595 by the
Marketing Committee of the Pan-Italian
I saw a production of Monteverdi's Return of Ulysses last night.
In the orchestra was a theorbo. At least I think it was a theorbo.
It has a prominent place in the production, serving as the sole
accompaniment for approximately six of the songs.
Would it be feasible to replace the theorbo
Hi everyone,
So I was browsing the EMS Used Instrument Agency, as one does, and I found this:
'EMS Bass Lute - an early example, but in fairly good condition - no case’
And it turns out to be a theorbo for £600.
http://www.earlymusicshop.com/UIA/images/instruments/1985S.jpg
http
--001a1134d26e9f56350500d38097
Content-Type: text/plain; charset=UTF-8
Dear All,
Apologies for this intrusion. Please contact me off list if interested.
Kind regards,
Benjamin
KINGHAM THEORBO CASES for sale: I have duplicate cases for two theorboes
and, due to the restraints of a small Paris
: Thursday, 14 August 2014, 22:29
Subject: [LUTE] Re: Italian Theorbo: 6/8, 7/8, 8/8
On Thu, 14 Aug 2014 22:26:19 +0200, Benjamin Narvey wrote
Both. Whike French theorboes tended to be single strung,
This sounds as if we can make sound statements about the the types of
instruments used
own engravings he played an
instrument
that, according to modern folklore, was a typical french theorbo
(rather
small, single strung with a roundish/deep body).
This can be seen in both surviving instruments,
historical sources
What kind of sources besides
for an Italian
theorbo? I assume this predilection is a modern tradition. Are there
any historical sources for having 8 short and 6 long on Italian
theorboes?
Obviously Weiss and Baron, et al., had 7 stopped stringsA since they
were in baroque tuning without the top f'. Campion may have
diapasons.
What source (if any) gives the disposition 7 + 7 for an Italian
theorbo? I assume this predilection is a modern tradition. Are
there
any historical sources for having 8 short and 6 long on Italian
theorboes?
Obviously Weiss and Baron, et al., had 7
A moderately-sized 7x2/7x1 theorbo by Christofolo Choc exists at
theA Musikinstrumenten in Berlin. I'm not sure of others; the 7/7
arrangement is overwhelmingly found on attiorbati. The widespread
contemporary usage on theorboes seems mostly due in its great
convenience, with modern
On Thu, 14 Aug 2014 19:00:24 +0200, Benjamin Narvey wrote
Of course! I meant courses, not strings. Single stringing is
mainly a modern phenomenon...
Where did you get this idea from? Is this statement based on
_historic_ evidence or on surviving instruments?
Cheers, Ralf Mattes
To get on
.
What source (if any) gives the disposition 7 + 7 for an Italian
theorbo? I assume this predilection is a modern tradition. Are there
any historical sources for having 8 short and 6 long on Italian
theorboes?
Obviously Weiss and Baron, et al., had 7 stopped stringsA since
Both. Whike French theorboes tended to be single strung, only the largest
Italian ones (stopped string length near 100 cm) were single; the vast majority
of Italian theorboes (and the ones corresponding to the sizes we tend to play,
80 cm and up) almost always double. This can be seen in both
; the vast majority of Italian theorboes (and the ones
corresponding to the sizes we tend to play, 80 cm and up) almost
always double.
Poor Castaldi - according to his own engravings he played an instrument
that, according to modern folklore, was a typical french theorbo (rather
small, single strung
tunning if not because of its size? A What's the role
of the theorbo as a continuo instrument? Should it be powerful? I think
so, then it should be big enough (nowadays just a good amp is needed -
tube like to be more historical).A
What kind of sources besides iconography and surviving
and up) almost
always double.
Poor Castaldi - according to his own engravings he played an instrument
that, according to modern folklore, was a typical french theorbo (rather
small, single strung with a roundish/deep body).
This can be seen in both surviving instruments,
historical sources
What kind
On Aug 14, 2014, at 2:29 PM, R. Mattes r...@mh-freiburg.de wrote:
Poor Castaldi - according to his own engravings he played an instrument
that, according to modern folklore, was a typical french theorbo (rather
small, single strung with a roundish/deep body).
Unless it’s the tiorbino
On Wed, 6/18/14, John Lenti johnle...@hotmail.com wrote:
So that's just four
incidents in maybe 120 flights.
Just four incidents!? That's pathetic. Who would feel like getting on an
airplane at all if passengers faced the same odds of coming out
In the Dutch news last week: a cat had been 'lost' in transit. It was
refused as handluggage, put in a basket, whatever, and checked in to be
put int the warm and pressurised part of the the hold. On arrival there
was no cat. I've had some bad experiences with luggage on planes, but
I had one of those Czech cases. It survived a good long while, before
it was destroyed, but honestly I think it was a freak accident. There
is no good way to travel with a theorbo. If the airline says so, you'll
have to check it and it might cost a lot of money if the agent decides
Dear all,
Sorry for a question which arises often here. I have to fly with my
theorbo whose case is 1,63m long and I am wondering if it may fit on an
extra seat. The body goes into the neck at approx. 56 cm and it is 40cm
wide.
Otherwise what are your experiences with theorboes
I've always taken my theorbo and archlute on an extra seat, but have
only flown in Europe with it. It's a hassle, a bother, never want to do
it, but I prefer it to checking it in. Mine is a toy theorbo with a
case of about 175. I understand some airline companies only accept
SWAN-NECK LUTE/SMALL THEORBO CASE: made by Tumiati, this is a
hard-shell case made of lightweight carbon fibre, weighing nominally
more that a Kingham (6 Kg). It could fit even a very wide-bodied
instrument, and a total instrument length of about 130 cm.A It is in
reasonable shape
On Fri, 21 Feb 2014 10:43:23 +0800, Shaun Ng wrote
I use 6+8. To me it makes more sense to have F and G as diapasons
because they are used more often.
Sorry, but I don't get this. What has the statistical distribution
of F (vs. F#) and G (vs. G#) to do with the question of whether
F (and maybe
On 21 Feb 2014, at 6:00 pm, R. Mattes r...@mh-freiburg.de wrote:
On Fri, 21 Feb 2014 10:43:23 +0800, Shaun Ng wrote
I use 6+8. To me it makes more sense to have F and G as diapasons
because they are used more often.
Since there are more Gs than G#s in the literature, to me it makes more
Theorbos can be set up up as 6+8, 7+7 and 8+6. Does anyone have any
preference and reasons?
Thanks
Anthony
--
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
theorbo has its
frets on an angle due to string diameter differences...
My archlute has an extra peg and my lowest diapason is a F or F# as
counterpart of the one which is an octave higher (first diapason). Needs
some getting used to but works and is also a possibility described by
nigel north
For me it's the question: What the old ones had as setup?
Normally, we can say: An instrument with more pegs than used strings is a
modern invention (of course, the early French theorbo seems to have a single
strung petit jeu, but was perhaps built for double courses in the petit jeu
are apparently very common nowadays. Not even
one original in museums and collections, as far as I know, BUT
Franc,ois Campion (1716) in his treatise states that most of his
colleagues have a theorbo configured that way and they call it theorbe
`a la Maltot from the name of his
I forgot to mention that I discovered the Franc,ois Campion' quote
thanks to the Theorbo page on Facebook :-)
...and I just checked my own copy (thank you, Andreas!) of Franc,ois
Campion, Addition au Traite d'accompagnement et de composition par la
regle de l'octave, Paris 1730
thanks to the Theorbo page on Facebook :-)
...and I just checked my own copy (thank you, Andreas!) of Franc,ois
Campion, Addition au Traite d'accompagnement et de composition par la
regle de l'octave, Paris 1730: the quote can be found at p. 26 and, of
course, was published in 1730, not in 1716
Am 31.01.2014 10:13, schrieb jean-michel Catherinot:
the conflict?? Concerning staff notation: there are extremely rare
examples of lute parts in staff notation (Fasch's concerto?, and not
sure it's for D min tuning) .
Indeed we can't be sure about lute parts in notation, for which
I'd accept a Trabant!
RT
On 2/1/2014 10:16 AM, R. Mattes wrote:
On Fri, 31 Jan 2014 15:42:16 -0500, Roman Turovsky wrote
No one knows.
The only thing known is that the combination of consonants TRB
is absent in all European languages, except for the Slavic ones.
Where did you get this from?
-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Martyn Hodgson
Sent: Friday, January 31, 2014 12:03 AM
To: David Tayler; lute
Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
As already pointed out on a number of occasions, the point about
tablature sources, rather than staff
On Fri, 31 Jan 2014 15:42:16 -0500, Roman Turovsky wrote
No one knows.
The only thing known is that the combination of consonants TRB
is absent in all European languages, except for the Slavic ones.
Where did you get this from? Just because I was drinking one while
your mail came in: Teber
On 2/3/2014 12:29 PM, Geoff Gaherty wrote:
As is turbine.
Geoff
that is not related to turbans or theorbos, but rather to the latin
TURBARE, to BOTHER.
RT
To get on or off this list see list information at
http://www.cs.dartmouth.edu/~wbc/lute-admin/index.html
On Feb 3, 2014, at 4:36 PM, Roman Turovsky r.turov...@verizon.net wrote:
that is not related to turbans or theorbos, but rather to the latin TURBARE,
to BOTHER.
If you dismiss out of hand any relationship between theorbos and bother, you
lack sufficient experience with theorbos.
--
To
-entrant) - and vice versa for the theorbo tablatures. Your
stated belief that the archlute and theorbo were simply different names
for the same instrument('The terms arciliuto and tiorba are
high-degree interchangeable.') is not therefore supported by any of the
tablature sources
MH
You write 'People like the archlute-theorbo duality. It isn't
historical'
Many historical sources describe the differences between the two
instruments (Bob Spencer's article still represents a good summary -
see link I gave earlier) and, of course, the tablature sources clearly
__
From: David Tayler vidan...@sbcglobal.net
To: lute lute@cs.dartmouth.edu
Sent: Friday, 31 January 2014, 5:57
Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
That's an interesting set of labels but it doesn't cover all the
historical cases
I think Diego Cantaluppi, in his thesis on theorbo (I suppose you can
read italian), gives very clear arguments on the subject. Once again,
it's a question of sound, not of label (to give names and labels is not
the question). And indeed we can choose our own practice (you do
jeanmichel.catheri...@yahoo.com a ecrit :
I think Diego Cantaluppi, in his thesis on theorbo (I suppose you can
read italian), gives very clear arguments on the subject. Once again,
it's a question of sound, not of label (to give names and labels is
not
the question). And indeed we can
What is the etymology of the word tiorba?
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Martyn Hodgson
Sent: Friday, January 31, 2014 12:03 AM
To: David Tayler; lute
Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
As already
' lute@cs.dartmouth.edu
Sent: Friday, 31 January 2014, 21:45
Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
What is the etymology of the word tiorba?
-Original Message-
From: [3]lute-...@cs.dartmouth.edu
[mailto:[4]lute-...@cs.dartmouth.edu] On Behalf
Of Martyn
Jakob Lindberg had a funny speculation: In the old Venice dialect ti
orba meant I'll blind you.
Just think the problems with the long extension neck...
Once I happened to hit the director of a choir, when he arrived to the
front of the choir and me with the theorbo; tiny river of blood
To: 'Martyn Hodgson' hodgsonmar...@yahoo.co.uk; 'David Tayler'
vidan...@sbcglobal.net; 'lute' lute@cs.dartmouth.edu
Sent: Friday, 31 January 2014, 21:45
Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
What is the etymology of the word tiorba?
-Original Message-
From: [3
today, Andi
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On Behalf
Of Arto Wikla
Sent: Friday, January 31, 2014 11:01 AM
To: Arthur Ness; Martyn Hodgson; David Tayler; lute
Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
Jakob Lindberg had
of the word tiorba?
-Original Message-
From: lute-...@cs.dartmouth.edu [mailto:lute-...@cs.dartmouth.edu] On
Behalf
Of Martyn Hodgson
Sent: Friday, January 31, 2014 12:03 AM
To: David Tayler; lute
Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
As already pointed out on a number
the director of a choir, when he arrived to the front
of the choir and me with the theorbo; tiny river of blood in his head did not
harm his work, luckily...
Arto
On 31/01/14 23:45, Arthur Ness wrote:
What is the etymology of the word tiorba?
-Original Message-
From: lute
To: David Tayler; lute
Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
As already pointed out on a number of occasions, the point about
tablature sources, rather than staff notation, is that they oblige a
particular tuning from the named instrument. Thus, for example
and
concise. Like any document or postcard from the past, they need to be
interpreted.
As for labels, I see that as the root of the problem, and essentially a
reinterpretation of the based based on the ever changing tastes ofthe
present.
People like the archlute-theorbo duality. It isn't
, 2014 1:59 AM
Subject: Re: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
This doesn't address the point I made to you: that the fundamental
difference between the archlute and the theorbo is in the manner of
stringing - theorbos have the top one or two courses lowered from
nominal
28, 2014 3:35 AM
Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
Have a look at:
a) the early sources (Bob Spencer's famous paper still represents a
good summary [1]http://www.vanedwards.co.uk/spencer/html/index.html
);
b) tablatures identified for the two
@cs.dartmouth.edu; Martyn
Hodgson hodgsonmar...@yahoo.co.uk
Sent: Wednesday, January 29, 2014 2:14 AM
Subject: [LUTE] Re: archlute/theorbo in Corelli's Op. 1
Yes: Zamboni in tablature., but indeed you know that!. I consider
that
most of the arciliuto music is written in staff notation, may
, not to play a B.C., and also dedicated to the
harpsichord (did Delair even play the theorbo?). The others (Grenerin,
Fleury,...) work with re-entrant tuning, even if the solutions could be
strange for us (but what about the guitar?).
I think the discontinuity you quote about the lines
., and also dedicated to the
harpsichord (did Delair even play the theorbo?). The others (Grenerin,
Fleury,...) work with re-entrant tuning, even if the solutions could be
strange for us (but what about the guitar?).
I think the discontinuity you quote about the lines, with wide laps
, not to play a B.C., and also dedicated to the
harpsichord (did Delair even play the theorbo?). The others
(Grenerin,
Fleury,...) work with re-entrant tuning, even if the solutions could
be
strange for us (but what about the guitar?).
I think the discontinuity you quote
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